1. Title of the Project

The continuity and revitalization of Nang Yai at Wat Khanon Community

2. Name of the Performing Art Concerned in the Project

Nang Yai (big-size Shadow Puppet)

3. Geographic location of the Community

Photharam area, Rajburi Province, Thailand

4. Introduction of the Performing Art

Nang Yai, or big-size shadow puppet play, is one of the oldest forms of Thai classical outdoor entertainment since the 13th century. It comprises many different types of arts and the ancient Hindu Buddhist ritual practice organising many centuries ago. The puppet figure is made of dried cow leather and raised in a higher position in the performance. The main plot of performance is adapted from the original Hindu epic, Ramayana, or Rammakian in Thai.

The focus of Thailand communities' ICH revitalization project is on the Nang Yai troupe of Wat Khanon temple which was initiated in the last century by a great monk of Rajburi Province.

5. Problems the community faced before the launch of the project, and the factors which caused the decline of and threatened the performing art

Even though Nang Yai was considered to be a creation of royal courts in the old days, the preservation and revitalization have been better done by ordinary people. In the 18th century, serious damage occurred in performing arts. Most Nang Yai troupes were changed from royal institutions to public, such as the noble men, temples and villagers.

Nang Yai Wat Khanon declined also after the emergence of modern entertainment forms introduced in Thailand in the late 19th century. The growth of modern economics, industrialisation, and modern life styles also separated people from Nang Yai. By the end of World War II, full-scale Nang Yai performance had almost disappeared.

Many shadow figures were seriously damaged; however, the people of the Wat Khanon community organised the Nang Yai play once a year at a temple festival. Later, a boy who was trained as a puppeteer and disappointed by repeatedly seeing the modern intrusions, decided to devote his life to Buddhist practice and began the revitalization of Nang Yai.

Since all knowledge of this performing art was practised and passed down orally, without a master nor any authoritative director, it was very hard to launch the comprehensive revival project. However, there were still senior villagers and Buddhist monks remaining, as well as outsiders, who joined the revitalization networks with profound awareness of its values.

6. Details of the project for solving problems of the performing art, especially who and how it started, finance, and involvement of younger generation

The revitalization of Nang Yai at Wat Khanon can be divided into three stages, as follows:

1. Research Projects during 1976-1982
   Field work research was conducted by the two prominent researchers. The first one was by the office of National Identity, the bureau of Prime Minister, and collected the literature data by interviews. The other study by Silpakorn University was conducted on the method of making and preserving shadow figures.
2. Reconstruction Projects 1989-
   Under the patronage of H.R.H. Princess Maha Chakri Sirindhorn, a project which aimed to preserve the Nang Yai of Wat Khanon by producing a new set of shadow figures and replacing old damaged ones was launched. The Nang Yai Museum, which is for the large collection of shadow figures and systemic teaching and learning of Nang Yai to the young generation, was also established.
   Reconstruction knowledge of Nang Yai of Wat Khanon was significantly corroborated by a network of Thailand's higher education institutes. Chulalongkorn University hosted the public conference regarding the aspects of cultural transmission with a special case study of Nang Yai of Wat Khanon in 1994.
   The original target group of revitalization was the local youth group consisting of relatives of the original troupe members, and later it was expanded to the other groups. The training is still following the traditional patterns by using the main temple as the centre for the transmitting of knowledge. It enhances the appreciation of Nang Yai in all its aspects among Thai society.
3. Distribution and Inheritance 1991-
   After the preliminary revitalization of Nang Yai and comprehensive training, the younger Nang Yai performers were ready to show their real ability to the public.

Wat Khanon temple naturally became a well-known tourists' attraction. The young puppeteers and musicians successfully showed their skills on stage as well as in demonstrating the relevant knowledge such as puppet-making and dance training. Funds from the local government and donations from tourists encouraged them to keep on with their practising.

Local schools introduced the arts of Nang Yai into their curriculum, both at primary and secondary levels. Thai media reported the news at national level and it came to be admired by the public. At the international level, the puppet troupe of Wat Khanon was invited to Japan and Germany in 1993.

This success resulted on the basis of good cooperation in all sectors. Wat Khanon has become the important place for learning Nang Yai and the project has encouraged the younger generation to realise the importance of their outstanding art and culture.

7. Influence of the Award on the Community

The award of the contest has made the whole community proud and delighted and also it brought happiness to all the cultural-awareness societies of Thailand. This valuable gift is able to help the community's precious cultural heritage to be recognised worldwide.

The prize may be a great opportunity and a vehicle for the present and upcoming young artists of the Wat Khanon community to carry on their safeguarding activities, though facing rapid social and economic changes. We are confident that this valuable tradition is breathing and growing endlessly.